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MAKE-UP 






&r 



J. E. FROBISHER. 



Director of the College of Acting and Oratory, of New York ; 

Author of " Voice and Action," "Acting and Oratory" 

etc., etc., etc. 



PRICE, 



FIFTY CENTS. 






°* 



THE MOST COMPLETE WOEK OF THE KIND, 



AGTIira Hi 0BAT0B7. 

By J. E. FROBISHER, 

Director of The College of Oratory and Acting, of New York; Author of "Voice 
and Action/' "Serial Headings," "Popular Recitals," <£c. 

415 PAGES, «. - BY MA.IL, $2.00. 

WITH APPROPRIATE ILLUSTRATIONS. 

Designed Tor Public Speakers* Teachers* Actors* &c* 



SYNOPSIS OF CONTENTS. 

Instruction. — Principles —Artistic Supervision- False Training. 

Practical. —Breathing - Good Chest and Carriage —Articulation 
— Force, &c. — General Habits — Before Audience — Reserve 
Power— Sympathetic Voice —"Not Knowing How" — Brain, not 
Limbs. 

Health. — Rest — Exercise — Good Digestion — True Speaker— Re- 
laxation — Expression —Reflection — Massage. 

The Mind.— Study— Meditation— Society -The Will— Taste. 

Theatre Francais. — French Method — Legouve — Samson- Talma, 
&c. 

Actors, Orators and Singers. — Demosthenes — Cicero — Webster 
— Clay, &c— Betterton— Garrick— Siddons— Rachel, &c. 

Criticism. — Acting— Readings — Stars — Debutantes. 

Costume. — The Passions— The Temperaments, &c. 

Acting. — Requisites— Analysis — Traditions — Actors — Forces — 
Stage Fright— Schools of Acting— Rules of Life— Rehearsals— 
Day of Performance, &c. 



For Sale at all Booh Stores in the U. S , and 
at the College. 



FROBISHER'S 

MAKE-UP BOOK 



A Complete Guide on the Art of Making-Up 
the Face for the Stage. 

including 

DIRECTIONS FOR THE USE OF WIGS, BEARDS, 

MUSTACHES, AND EVERY VARIETY OF 

ARTIFICIAL HAIR, Etc. 

♦ 

FOR THE USE OF 

ACTO/S, OPERA SINGERS, AMATEURS, AND PUBLIC 
PERFORMERS GENERALLY. 



AN APPENDIX OF HINTS ON ACTING. 

(( ' 
J; E. FROBISHER. 

Director of the College of Acting arid Oratory, of New York ; 

Author of li Voice and Action,'" "Acting and Oratory " 

etc., etc., etc. 



(&MtQt of {§xntm% m& gating, gjtov Irak, 






Entered according to Act of Congress, in the year 1882, by 

J. E. FHOBISHER, 
in the office of the Librarian of Congress, at Washington. 



NEW YORK: J. J. O'BRIEN, PRINTER. 
397 FOURTH AVENUE. 



PREFACE. 



Every one, amateur or professional, in appearing 
before a public audience, ought to some extent, to be 
"made up." It may not be to represent a character, 
as in a play, but to prevent the ghastliness, otherwise 
given to a person under a glare of light, especially of 
foot-lights, which resembles, only less so, the cadaver- 
ous look one wears passing the reflected water-jars of a 
druggist's window. 

Keaders, concert singers and others, as well as 
actors, should "make up," slightly at least, if they 
wish to avoid that pallid, frightened, drawn, older 
appearance, and obviate its disagreeable effects upon 
the spectators. 

It is not only unbecoming, but unnecessary, as 
Shakespeare says, "let her paint an inch thick," for 
with a ready and delicate judgment, the most refined 
lady can preserve her own facial appearance so 
closely, as not to betray to the severest scrutiny, the 
means she may absolutely need apply. 

This work is intended more particularly for making- 
up with Grease Paints, and their accompanying liquid 
preparations, (for the hands and arms), although many 
directions may be found that will, associatively, assist 
one in characterizing his features in dry colors, should 
he so desire; for although they are much less in vogue, 



IV. FROBISHERS MAKE-UP BOOK. 

there might be occasions when they could be better 
used. 

The most obvious advantage of grease paints is, 
that they are not sensibly affected by perspiration; 
while reversely, dry colors are: for moisture will 
streak them on the forehead and adown the face, and 
if the perspiration be profuse, it will actually wash 
them off, and thereby destroy all the making-up, 
leaving only its wreck behind. 

Such conditions necessitate a renewal of the entire 
features, and perhaps, at most importune moments, 
even during the enacting of consecutive scenes. The 
time sufficient to re-make-up the face might jeopardize 
the interest of the entire act or even the play itself; 
while not to do so might spoil the character. 

Grease paints do not fail the performer in so 
hazardous a manner, for perspiration oozes through 
them and can be easily shaken from the brows and 
face by several sharp, quick jerks of the head, and if 
this is not sufficient, a soft napkin laid in the palm of 
the hand, and gently mopping and touching the face 
will remove what remains, without injury to the 
" make-up" 

It might be necessary to slightly re-apply the 
finishing powder, but this is a very simple matter, and 
if neglected would scarcely be observed, for it merely 
makes the features a trifle more transparent and flesh- 
like, thus softening the grease paints in tone, but not 
obscuring them. 

Perhaps another not less important consideration in 
favor of grease paints is in their harmonious and 
blending qualities. The flesh and shadow tones 



FROBISHER S MAKE-UP BOOK. V. 

readily mingle, even to the finest tint, with impercep- 
tible softness, giving a purity and freshness impossible 
to secure with dry colors; besides, in the use of wigs, 
grease paints blend the natural skin of the forehead 
with the artificial one of the wig so completely, as to 
defy detection of the line of junction; they also con- 
ceal defects of skin; and old actors know their value 
in hiding the lines of their features, when playing 
leading juvenile roles. 

Dry colors were not so noticeably defective in the 
earlier times of candles and oil lamps, but now-a-days 
with gas, and plenty of it, they look yellow, opaque, 
cold, pale, waxen, lifeless. 

Perhaps a still further excellent reason for the 
choice of grease paints is on account of their harm- 
lessness, for if there should be any tendencies to 
affect the skin, by the use of colors, they are doubly 
neutralized by the fat in the paints, and the face- 
covering of cocoa-butter on which all the colors are 
laid, as explained in the processes of making-up. 

Those not yet accustomed to the habit of using 
them, imagine grease paints as disagreeable to the 
touch of the face, and they consequently shrink, at 
first, from being " daubed," as they sometimes tersely 
express it, "like Indians with war-paint." Not only 
ladies, but even gentlemen, fidget over the idea of 
being greased-up. Such has been my experience with 
pupils for the stage approaching their " first appear- 
ance " at a reception, but they subsequently learned 
their mistake. 

Grease paints are not unpleasant to the face, for 



VI. FROBISHERS MAKE-UP BOOK. 

when it is made up with them it feels smoother and 
moister, if not cooler; while made up with dry colors 
the "face burns," feels dry and harsh. 

Grease paints, by softening the skin, make the face 
more flexible to expression, and even feel more agree- 
able than without paints. This has been the experience 
of those under my supervision, and seems to be that 
of most professionals. 

Hoping these sufficient motives for the preference 
expressed in the use of grease paints, let us proceed 
to the practical part and look into the mysteries of an 

' ' ARTISTIC MAKE-UP. " 




CONTENTS. 



PAGE. 

Preface, ... 3 
The Make-up Box and 

Contents, . . . 8 

Preliminary Suggestions, 11 

Putting on the Wig, . 11 

Stage Faces, . . 12 

Juvenile Face, Directions, 13 

Ladies' Juvenile Face, . 17 

Middle Age, . . 18 

A Pale Face, ... 19 

Advanced Age, . . 20 
Old Age, . . .20 

Decrepitude — Dotage, 23 

Amateurs and Beginners, 24 

A Good Stage Face, . 25 

Hollow Face, . . 25 

Full Face, ... 25 

Prominent Nose, . 26 

Heavy Eyebrows, . 26 

The Eye, ... 26 

The Mouth, ... 26 

Free Mouth, . . 27 

Forehead, ... 27 

Thin Face, . . 28 

Comic Face, ... 28 



PAGE. 

Comic Chaeactees — Nose, 
Mouth, Chin, Forehead, 

Eye-brow, Teeth, . 29 
Humoeist — Tipsey Man, 

Drunkard, . . 31 

Wigs, Beards, etc., . 32 

Old Age, ... 32 

Color of Beard, . 33 

Size and Shape of Beard, 33 

Making the Beard, . 34 

The Eye-brows, . 35 
To Bemove Grease Paints 

from Face, . . 35 

An Epitome of Make-Ups, 37 
Youth, Manhood, Old 

Age, ... 37 
Grease Paints and Mate- 
rials, .... 38 

Hints on Acting, Instruc- 
tion, . . . 40 
How to Speak in a Thea- 
tre, . ... 41 
Rehearsals, . . 42 
Society and Acting, . 43 
Practice, ... 44 



FROBISHER S MAKE-UP BOOK. 



THE MAKE-UP BOX 



should consist of the following features : 

The box itself. Creped Hair or Wool. 

A piece Cocoa-butter. A pair of Scissors. 

Grease Paints. Thread and Needles. 

Lining and Shading Paints. Pins, Spirit Gum. 

Leather Stumps. Towel and Sponge. 

Grease Rouge. Hair Pins to sometimes 
Powder Box and Puff. fasten wigs. 

Liquid White and Brown. Small pieces of Muslin. 

Cosmetiques, Black and Brown. And a small Mirror. 

The price of the Make-Up box varies from $1.75 to 
$3.50 each. 

The large paints come in sticks 50c. each, or 25c. 
half a stick; three or four colors will answer, accord- 
ing to style of characters played. 

The grease paints commence at number one and 
variously run to number eight for youth; to manhood 
up to ten; recommencing and finishing for old age 
with thirteen; added to these come Gypsy, Moor, 
Chinese, Indian, East Indian. 

With these are used smaller sticks of paints to 
shade with, and for lining. These are white, black, 
gray, flesh, brown, red and carmine. 

Prices from 20 to 40c. per stick, or 10 and 20c. half 
a stick, according to the color, all seven colors are 
needed. 

A complete outfit of box and material, can be had 
at prices varying from $5 to $10, and $15, depending 
upon the quality and amount. 

A price list of all the materials necessary will be 
found at the latter portion of the book. 

The wigs and beards must be kept by themselves. 
These are innumerable in variety and style, from 
court to kitchen — black, red, brown, blonde, white, 
and gray. 

N. B. — Boxes made-up and sent upon application. 



FROBISHER S MAKE-UP BOOK. 

DIVISION LINES OF THE FACE. 



IX. 




The perpendicular lines denote the place of color for the 
size of the face from thin to thick. 

The horizontal lines denote the place of color for the age of 
the face, from youth to old age. 

The lines from the eyes and nose, and on the forehead, neck 
and cheek-bone, denote the places of shadows, wrinkles and 
linings. 



PKELIMINAEY TO MAKXNG-UP. 



The first thing in making-up for a part is to dress 
in the costume, modern or classical, excepting directly 
around the neck, such as collar, cravat, or ruff, also, 
omitting coat or garb about the shoulders. By so 
doing, one is not as likely to disturb the make-up of 
the head and face. 

If the character demands a wig next see that it is 
properly adjusted, so as to match the facial appearance 
with it. The wig in some instances can be left off 
until the face is nearly, if not quite made-up, and then 
matched with a few extra touches. 

To Put on the Wig. — Brush or comb back the hair, 
very slightly wetting it if resisting, from the temples 
and neck to the top of the head. Take the corners, 
at the ends of the elastic, at the back of the wig, and 
the front of the wig, and extend them apart above the 
head bending it forward. Let the front of the wig 
touch the forehead like the band of a cap, and then 
widening the elastic at back, keep the front of the wig 
in its true place, close to the line intended, and pull 
the wig down around the head like a neatly fitting 
glove. Push back the natural hair that may obtrude, 
with the back of a comb, except a portion on the tem- 
ples, to have all resemble more nearly the real growth, 
and match these locks with grease paints. 

Now, with a large apron or cloth of some kind tied 
or pinned close around the neck, so as not to soil the 
dress, seat yourself before your mirror with cleanly 



12 frobisher's make-up book. 

shaved face, if a beard, and select your materials from 
jour make-up box. Make allowance for size of place, 
parlor, hall, or theatre ; also, for the light around and 
on the stage, the kind and amount, strong and bright 
or feeble, gas, or kerosene, if in smaller towns, re- 
membering the brighter the light the lighter the 
shades, and lines or shadows; reversely, coarser, with 
dull light. 

Making-up may seem an easy matter, but it is more 
delicate and difficult than it looks. Even professionals, 
of years experience, cannot make up artistically; and 
this assertion applies to ladies as to gentlemen. It is 
because they have never learned how, but have merely 
imitated enough, as in their acting, to routine a 
habit to take care of itself. 

It is a study, an art by itself, and it is only the 
finished actors who can pretend to know its mysteries. 
One can hardly realize the infinite labor that genuine 
artists on the stage bestow upon their faces in making- 
up, their efforts often producing effects that seem to 
partake of the marvelous. 

Blanc Perl faces, saucer eyes and deep ruby lips, 
like fashion forms in plate glass windows, and black 
mustachios, or blonde wigs, and peachy cheeks like 
tailors' models in suits with prices labeled, do not 
constitute in either case a true make-up. 

A person possessing a finely formed face, but not 
artistically made-up, will not look as well on the stage 
as another with ordinary features well made-up, and 
in character. 



frobisher's make-up book. 13- 



MAKING-UP. 



Having satisfied yourself as to the preceding par- 
ticulars, commence practice with 

A JUVENILE FACE. 

1. — Take your piece cocoa-butter, or vaseline, and if 
cold weather warm it first, and lightly smear the face. 
It is better to fill the pores first with plain than 
colored grease; it is then easier to remove the paint 
when cleaning off the face, especially if it is tender. 
After the smearing lay down the cocoa-butter, and 
with warmed hands rub the entire surface of the face 
close to the natural hair, or wig, shut the eyes, and 
rub both lids, upper and lower; rub the inside of the 
ears, a little in the nostrils and adown each side of 
them, and on the bridge. Do not put any grease on the 
neck, for it will soil the collar or ruff, but rub only to 
the dividing line of cheek and chin, where they begin 
to form the upper part of the neck. Do not put any 
grease on the back of the ears, nor behind them. The 
neck, arms and hands will be attended to shortly. 
After this rubbing take a napkin and gently wipe off 
the face if made too greasy, almost dry, Now r con- 
sidering the age of the character, his business or 
profession, that might affect the color of his features, 
you will use one of the various colors of the grease 
paints, from number one to number seven. If he is 
to be extra pale, use number one. If childish, number 
two. If youthful, light complexioned, number three. 
If youthful and dark skinned, number four. Use wig 
accordingly. 



14 frobisher's make-up book. 

In northern latitudes, people are lighter complex- 
ioned; in southern climates, darker. One should act 
in keeping with these suggestions, and make-up 
accordingly. 

2. — Take the number of the grease paint best cal- 
culated to represent the type of youth you intend to 
portray, as hinted in the preceding paragraph, and 
having warmed it by the light, taking pains not to 
black it by too close contact with the flame, make 
several small patches on the cheeks and forehead, 
somewhat evenly apart, and one on the chin. Rub 
them, very lightly, into each other, with warm hands, 
and all over the face, following precisely the same 
directions as the cocoa-butter, eyelids, nostrils, and 
ears. A stick used every day will last for months, 
for only a slight quantity is removed each time applied. 

3. — Next place the tip of one finger into the little 
jar of Rouge de Paris, and apply it high on the cheek- 
bones; again lightly touch the rouge, and apply what 
comes off on the tip of the finger to the other cheek- 
bone; now a slight touch to the chin. (See cut.) 

If you intend to represent a thin-faced youth, put 
the dot of rouge, not larger than the full point of 
the finger, and not too much in any case, back towards 
the ears. If to represent a full-faced young person, 
put the rouge well between the cheek-bone and nos- 
trils. As a general thing, this is all the paint needed 
in youthful characters, unless some peculiarity prevails 
which will be mentioned in its appropriate place. 

Now comes the very delicate task of blending the 
rouge from the center of the spot to which it is applied. 
Gently then, rub and smooth it over the cheeks on 
either side of the face, conforming as nearly as 
possible to the contour of the natural face. Delicately 
rub it up close to the lower eyelids, towards the sides 



FROBISHEKS MAKE-UP BOOK. 15 

of the nostrils, and towards the ears, high on to the 
temples, and down the cheeks, until the red spots 
have become apparently blooming cheeks. 

4. — Now, with a leather stump, with one tip lightly 
rubbed on the end of a black or brown small stick of 
grease, according to the complexion of the character 
and the color of the wig, light or dark, as the case 
may be, draw a line close to the eyelashes, on either 
under-lid, and edging the eyelashes very distinctly, 
but narrowly, not exceeding the width of a line made 
by the burnt end of a match, which was sometimes 
formerly used. Take this line from nearly touching 
the near corner of the eye, around the curve of lid, 
out beyond the outer corner of the eye, to the extent 
of about a quarter of an inch, direct and straight. 
Now very lightly blend the lower part of this band or 
line into the eyelid, so as to lessen, or, if possible, 
remove all appearance of a line, and merely seem like 
a profusely eyelashed pair of eyes. This makes the 
eyes appear larger and brighter. Also, paint the 
lashes. 

5. — After the painting is over, take the powder-puff, 
and either a plain white, or tinted powder, flesh color, 
brunette, such as may be best suited, and powder the 
entire face and ears as in painting; let it remain a few 
seconds, then take the puff and very lightly brush off" 
all the superfluous particles, toning all down to look as 
life-like and natural as possible. 

6. — With wet corner of napkin rub paints from 
eye-brows, and as soon as dry, darken them and eye- 
lashes according to natural hair or wig, with the brown 
or black, on leather stump. 

7. — Take the tip of one of the fingers, and apply 
the rouge delicately to the lips, or in its place, use 
grenadine. Be cautious not to make the lips any 



16 fro^isher's make-up book. 

larger, and to use very little color. It is merely Lo 
prevent a cold, purple look, if no color is used. Care- 
fully touch the inside of the breathing holes of the 
nostrils, not too much, just enough to give them a 
warm, natural look. Instead of what follows, some 
actors, (old,) grease the neck. 

8. — Now pour out into a small vessel, a little of one 
of the liquid preparations, white, brown, or flesh tint, 
as in the powders, and apply quickly with a sponge to 
the neck, rubbing it to prevent streaking, and also 
blend it up to the colors at the edge of the cheeks and 
chin, and back of the ears, and all parts not covered 
with grease paints. In the same manner moisten the 
inside and outside of the hands, being careful not to 
allow it to get around the tops and under the pro- 
jections of the finger-nails. For noblemen or high- 
Dred gentlemen, light tints or colors. For mechanics,, 
ruffians, woodmen, none at all, or light brown. For 
rough, sunburnt characters, sailors, barbarians, Roman 
populace, dark brown, to appear swarthy, or yellowish, 
or reddish brown. 

Never appear in modern society plays, or of the 
powder period, without whitening or tinting the hands, 
and exposed portions of the arms, or they will look 
coarse and red. The sponging should be done very 
thinly, and rubbed evenly, to look transparent, not 
opaque. If made over-white, they must be washed 
and dried and gone over again. All of the foregoing- 
work is necessary for a fine make-up, yet good effects 
can be attained without so much labor. Do not be 
satisfied with commonplace work, such as is too fre- 
quently found on the stage of even city theatres. 






frobisher's make-up book. 17 

Ladies' Juvenile. — The make-up is quite similar, 
except, having softer, smoother skins, and less to con- 
ceal on the face, they can use softer and lighter colors 
both in tone and consistency. The paints used by 
them come in small earthen boxes, under the name of 
Exoras. Number one is for light complexions, blondes ; 
Number two for medium; Number three for brunettes 
and dark complexions. In making-up the eye-lashes, 
ladies should not make little dots with dark paint on 
the lids themselves, between the lashes, as some do on 
the stage, but actually paint the lashes, upper as well 
as lower; if lashes are too light, make the curved line 
under them to improve their size, or bulk. 

After the cocoa butter, and the number selected of 
Cream Exora is applied, the eyes improved, the lips 
tinted, the nostrils insided, then come as with the 
gentlemen, the powders and the liquid preparations 
for the hands, arms and neck, using the same precau- 
tions not to overdo, or they will look as parts of images 
of plaster. 

When completed in all these particulars, and the 
powder removed from the eye-brows and color applied, 
they have an extra advantage of making little beauty 
spots, and dainty dimples on cheek and chin. 

Advanced Ages. — Wrinkles, similar to gentlemen in 
lining. 

Remove all with cocoa-butter, or vaseline. 

Liquid Colors. — Many ladies disliking even Cream 
Exoras, and Eouge de Paris, persistently use liquid 
colors, instead of dry. But, either dry or liquid colors 
put on the face, especially the rouge, sufficient to cover 
the face, injure the skin, make the face rough. They 
destroy the elasticity of the face skin, turn it yellow. 
Grease paints do not affect the face and are therefore 
to be preferred. 



18 frobisher's make-up book. 

Middle Age, 30 to 45 years. — Select wig and put it 
on to match the face. The same jDrocess as before in 
making-up for youth, except using more advanced 
numbers in the colors, which are either darker or 
deeper tinted. The wig makes the most difference in 
one's appearance, the colors adding to it. If to repre- 
sent premature appearance of age, slightly rouge 
chin, otherwise none. 

If a young actor wishes to represent a person of 
forty-five, but well preserved, he should read the text 
of the play carefully, and judge by the language 
throughout, as to the character he is to take. If of 
a mild disposition, he should make less wrinkles, both 
in depth and number, than if of a harsh nature, or 
increase them if crabbed and irritable in temper. 

The cocoa-butter is always used as foundation in 
every character, although some merely use the paints 
themselves, but it is much neater to use a face cover- 
ing first. 

Select your grease paint from six to eight, using your 
judgment as to climate and condition of youth; apply 
as before. 

The rouge is put lower on the cheek bone. (See 
cut.) 

After the rouge, apply the color, brown or black, 
under the lower eyelids, and extend as before. 
Additionally, put lighter or heavier, two similar marks 
either side of the quarter-inch extension of the line 
under the lower lid. Make them diverge from the 
corner of the eye up, and reversely down, to repre- 
sent crow feet. These extra lines are not to be used 
in gentle characters, or under forty years of age. 

Lines, light or heavy, according to age and character, 
are now to be drawn, varying from half to three- 
quarters of an inch in length from the inner corners 



frobisher's make-up book. 19 

of the eye on the nose, (down slantingly towards the 
corner of the mouth,) these are drawn with the leather 
stump, as broad as the stump will make them. Two 
other lines, of similar size and length, are drawn from 
the corners of the nose to the hollow of the cheek, 
above the upper jaw. If necessary, these lines are 
shaded with a pencil in grease paint of light flesh 
color, and both broadened by the fore-finger of either 
hand to destroy the appearance of lines, and turn 
them into finely blended shadows. This is an exceed- 
ingly difficult thing to do. They must resemble real 
life, and not make the actor look as if he were simply 
striped. It needs practice. 

If the character is to portray continued deep grief, 
the rouge is placed still lower down the cheek, but 
not so low as to approach too near the border of old 
age. (See cut.) 

If instead of a young man acting a middle-aged 
man, it be a man acting the part, he should put the 
rouge lower down to give his additional age. 

The more manly and hardy a face is to look the 
deeper the flesh color; number eight, and rouge lower 
down, midway of cheek-bone. 

Youth, rouge on the top of the cheek-bone; middle- 
age on the middle; old age, even beloiv, tender the bone 
itself. (See cut.) 

A pale face might use the color of youth, number 
one or two of the grease paints, and no rouge at all; 
bloodless even use white powder on face, or contrast 
with reddish grease paint. 

The proper place and blending of the rouge on the 
face is a special point in a make-up. To adjust to 
contours of the face, the shape of the cheeks, to know 
how to color the different parts of the face according 



20 frobisher's make-up book. 

to its natural form and outline, and to make it some- 
thing different in every different character, requires 
the highest skill and judgment. 

Advanced Age. — 45 to 60 years. — A good wig now 
helps the character almost as much, if not sometimes 
more, than the facial make-up. If a young man, to 
represent the part, the whole head should look it. 

The prime of life should be represented by color 
number seven, using in the same manner as in younger 
parts. If a worn-off expression, use number eight, 
for the wig will match it best as to color. If sickly, 
use number twelve, olive color, and the same for men 
in southern climates, prisoners, men of care, men of 
intrigue, bloodless cheek, consumed, varying to num- 
ber eleven. For healthy color of advanced age exposed 
to air, use number ten. For elderly men, broken 
down, confined to house mostly, well off in means, 
without care or trouble of a mental kind, number ten ; 
rouge below cheek-bone, and tone down with fingers 
in all directions from that point, keeping it the 
brightest. Increase the wrinkles as in life. (See cut.) 

Old Age. — 60 to 100 years. — Select wig. Use 
colors of grease paints from one to eleven, for the face 
of an aged man is very variable, with skin from the 
color of a child to that of the harshest quality. Wig 
sometimes changed as are the colors of the face from 
act to act, during the progress of the play. Some- 
times a character commences young with the first act 
and ends old with the last, through intervals supposed 
to have elapsed in the time of the action of the piece. 

Here begin the intricacies of . the art. 

The selection of wig, the application of the proper 
color of grease paint, the rouging are comparatively 



erobisher's make-up book. 21 

•easy matters; but the lining, the shadowing of the 
iace, to know how many lines to draw, and just where 
to put them, where to begin them and where to end 
them, is really bewildering to the novice. These 
lines, or shadows, as they are converted into, merely 
represent the flesh shrinking and shriveling from the 
round fullness of youth, to the seams and creases 
of withered old age. Besides, the flesh falls away 
from the bones of the brow, the cheeks, the jaws, the 
chin, and all parts, even on the neck. To represent 
this phenomena of life, in a multitude of phases, each 
■character possibly representing several, taxes the 
■energies of even gifted artists. 

Let us make a general attempt, a kind of type to 
introduce the others. 

We will assume the face is ready, as on a painter's 
canvas, and we begin with the crow's feet at the cor- 
ners of the eyes. "We make them deej)er, sharper, 
more defined, we shade them or reflect them rather, 
-with the pencil of light flesh, or even with white. 
We do the same with the broad lines, down from the 
inner corners of the eyes, extending them in length, 
and, also, the same with the lines from the corners 
of the nostrils, lengthening them. We add similar 
lines to the corners of the mouth, and treat them in 
a like manner. We give a bag-like appearance to the 
lower lids of the eyes, by carrying lines with the 
leather stump, one from the inner, and another from the 
outer corner of the eye, under the under lid to form 
a kind of triangle, so the lines cross each other, to a 
trifling extent, and not exactly curve, under the eyelid; 
it is better than curving the lines. We now fill with 
slate colored grease paint the entire lower lid, and 
lightly blend the two colors. This gives a peculiar, 
dragged look to the eye. In some parts, w T e redden the 



22 frobisher's make-up book. 

upper lid. We knit the brows, and draw lines in the 
creases indicated, just above the end of the nose, we put 
a little hollow on the bridge of the nose with the slate 
color, we put another hollow at the tip of the chin. 
If sunken cheeks are to be given, we feel for the 
natural hollow of the cheeks, and indicate their con- 
tour with blended patches of the slate color. We 
raise the skin of the forehead, by elevating the brows, 
we draw lines, and shade them just as the skin wrinkles 
in the effort. We raise or depress the skin of the 
cheeks, and we paint the wrinkles as we need them. 

To practice this portion further and intelligently, it 
is best to observe characters in real life, and note the 
most prominent wrinkles, for lesser ones are scarcely 
observed on the stage. If not easy to find such people 
as you desire to copy, take old drawings of age. 

You will see in life, or pictures of old age, other 
lines to imitate, say three or four running over the 
curve of the lower jaw between the mouth and ears. 
You will see a number of others around the neck like 
hoops. You will see the temples hollowed. You will 
also see the colors in real life, for after all, the idea is 
merely to exaggerate nature on the stage just enough 
not to seem exaggerated. 

THE HAIR 

Instead of always wearing wigs, the hair itself can 
be combed in different shapes, or be powdered to 
represent various conditions. It is a matter of taste 
and judgment to a great extent; but the face must 
always be made up. 

As with the wrinkles of old age, so is it the same 
in regard to colors. The flesh changes from a rosy 
tint to a yellow tone, and thence to a brown, according 
to the years and circumstances. 



frobisher's make-up book. 2ci 

The tint of youthful red which begins at the lower 
lid of the eye, gradually grows paler and falls lower 
on the cheek-bone, and the flesh color gets more 
prominent and projected. The under lid loses its 
elasticity, and gets wrinkled, unsettled, and has a 
blueish tint, which commences at the corner of the 
nose and goes across the lid to the opposite side. 
Little wrinkles form about the eye. Shadows fall 
from the corners of the nose down to the upper jaw. 
The outer corner of the eye grows into wrinkles. The 
color on the chin, and above and below the lips, with 
sides of the cheeks under the ears, grows deeper on 
account of the shaven beard, which grows stronger 
as the person grows older. 

Advanced Age. — The muscles of the face near the 
nostrils, and to the corners of the mouth, become 
more prominent from the fat of the cheeks becoming 
absorbed and falling away, leaving them projected. 
These are to be represented by wrinkles and shadows. 
The hair becomes gray, also the brows; paint gray. 

Decrepitude — Dotage. — The entire face becomes a 
pallid, yellowish flesh color, with a mass of wrinkles 
and shadows. If any red is necessary, let it be of a 
brownish cast, and the least possible amount adown 
the nostrils across to the corner of the mouth. The 
cheeks fall in, so let the color go under cheek-bone to 
corner of the mouth, and show deep shading. The 
cheeks hang flaccidly below the bone, and show one 
or two deep, broad shadows, or shadings. The tem- 
ples fall in, and need shadows to show them. The 
eyes sink deeper on account of the shrunken flesh. 
The shadow from the corner of the eye and nose will 
meet the shadow forming from below the centre of 
the cheek. The upper lid of the eye will shrink, as 
well as the lower, and the forehead appear strewed as 



24 frobisher's make-up book. 

it were with, furrows, and horizontal lines will form 
brokenly across its length. The mouth will become 
drawn and pinched, and pursed together with wrinkles 
from its corners, to the outer edge of the chin. The 
chin will become pointed and fleshless, the throat 
shrunken, the Adam's apple bolder, the cords more 
tense, and deeply shaded. The hair becomes thinner, 
softer, whiter, and oftentimes the head quite bald, 
with the exception, perhaps, of a rim around the back 
of the neck and about the ears. Paint the eyebrows 
white as in nature. 

Amateurs and Beginners generally paint too much, 
and thus destroy the physionomic characteristics. In 
making-up for middle age they overdo in color and 
wrinkles, and unintentionally produce old age. 

The first thing they should do before making-up 
for a character older than themselves, if a young 
person, is to get the wig which is characteristically 
suited to the part to be }:>layed. 

Putting on the wig, an amateur can see how little 
paint is really required, and how little is to be done. 
It is to do that little well. Often the wig makes a 
great part of the character. 

A young actor, with a defined face, after adjusting 
the proper wig and matching with the right color, 
needs only the shadows, and they lighted up, to look 
as lie desires. A young actor without a marked face, 
if he wishes to play character parts, will be obliged 
to exercise all his skill and ingenuity to make up his 
face to look well. In both cases, the actors must put 
the shadows where they would naturally come. These 
shadings cannot be forced, for they look absurd, and 
on this account some have better faces than others for 
the stage. To find the true places for the wrinkles 



frobisher's make-up book. 25 



♦ 



and shadows, must be the first thought of the young 
actor. One means is to take a lighted candle, and 
having it as the only light of the room, and before a 
glass, observe the shades as they will come by variously 
turning the face to and from the light. 



A Good Stage Face should not be oval, round, but 
incline to long, oblong, such as where the cheeks slant 
from the nostrils to the cheek-bone, rather filled to 
roundness. Such a well-formed face, to show oppo- 
sitely, would be improperly painted, if rouge be 
applied from the eyes down too far, even if the face 
be so colored by nature. The effect would be lost. 
If painted so the expression is peasant-like, and to 
increase this farther in this direction, and have nothing 
lacking, would be to paint the eye-brows larger in 
their color, and yet, most amateurs do this and make 
a terrible mistake. 



If the Face is too Hollow, or Thin, put more 
red on those parts fallen in; the farther back the rouge, 
the larger and fuller the cheeks; put the rouge well 
towards the ears, and try the effect. Put dark red 
high on high cheek-bones, and lighter red in front of 
them. Put dark red on all projecting points, and 
lighter red on the sunken places. (See cut.) 



If the Face is too Full and Plump, do not put 
too light a red on it, for rouge, but rather a dark red, 
to make it appear smaller. Put the rouge near the 
nostrils, and do not extend it too near the cheek-bones. 
This makes the face seem smaller, or thinner. (See 
cut.) 



26 frobisher's make-up book. 

To Make a Prominent Nose Smaller. — Extend the 
rouge from the cheeks on to the sides of the nose, but 
not too much. On the contrary, a small nose can be 
apparently increased by keeping the rouge farther 
from it. To still further increase the apparent size, 
take a lighter flesh color than is put on the face, and 
varying the width, from an eighth to a quarter of an 
inch, make a stripe down the sides of the nostrils. 
Tone down the edges of these bands, and blend them 
lightly to the color of the cheeks. 

To Reduce the Eyebrows if too Heavy. — Plaster 
them down with yellow soap, and then match them 
with the face with grease paint, and paint the brows 
over that, as desired, in their color. 

The natural form of the eyebrow is so shaped, or 
sized, that generally something is required in some 
way. The shape of a beautiful brow for classical 
type, is the small, slender, arched character, to allow 
the eye to lie open freely. It commences at the bridge 
of the nostrils lightly and slimly; it widens at the 
centre of the eye and diminishes towards the hollow 
of the temple, as observance of the paintings of re- 
nowned masters will show. 

The Eye. — To give the effect of lunacy, put strong 
red on the upper lid ; for crying , iveeping, put a soft, 
mild red ; for sorrow, put blue or slate, for young people ; 
for old, or played out parts, put over and under the 
eye, both lids. 

The Mouth. — After the eye, the mouth requires the 
most particular care in making-up. If you have a 
good mouth, be careful not to cover up the upper lip 
so as to conceal it; but rather show it together with 



frobisher's make-up book. 27 

its corners, and reversely, try to hide it if poor mouth 
and broad upper lip, large and awkward. In the first 
instance, have a thin, or narrow mustache; in the 
other, have it larger, longer-haired, reasonably so ? 
so as to improve the mouth surroundings. 

A small mustache on a large lip looks comic. Do 
not cover all of the lip, but have a little flesh seen 
directly under nose-point of lip. With broad mouth 
or thick, make a less uncovering of the corners of the 
mouth. 

Free Mouth. — In the make-up of a mouth without 
mustache, the flesh color must not touch the corners 
of the lips, if any change is to be made in its confor- 
mation. If it is not of good form, the mouth can be 
changed in shape. You can paint it narrower if too 
broad by nature, or if certain effects be desired. This 
is done by extending in a special manner the flesh 
color on to the lips, and rouging them after that. 
Reverse effects are produced by enlarging the mouth 
with color. Do not take white instead of flesh color, 
as it produces an effect upon the under shape of the 
lip by destroying the concave. Be sure to apjDly rouge 
in all cases, or the lips will look purple as coming from 
a cold bath. Give the lips a centre point, beneath the 
nostrils, and make each side from that in a graceful 
curve. This is the natural shape until age changes it. 
For a young, healthy make-up, a slight touch of 
rouge to the chin, gives a fresh, blooming appearance. 

The Forehead and the Crown. — In a young part, 
to look well, the forehead should be made up high. 
If low forehead, the hair should be forced up from 
it, or a wig worn having a high forehead piece attached. 
If the hair on the crown is thin, take brown or black 



28 frobisher's make-up book. 

muscaro and paint that part of the scalp or hair, and 
it will appear like a fullness of hair. 

A Juvenile Thin Face. — When the juvenile face 
was spoken of in the preceding pages, it was inferred 
as being full. If we wish to produce a juvenile thin 
face we have a difference in the work. Let it be for a 
serious character. Take for groundwork, as a basis, 
color number two, three or four, according to hair or 
wig, if used, and cover the entire face as before. Put 
a light half -inch breadth of shade from the middle of 
the cheek down to the chin-bone, and rub it gently 
wdth the groundwork color of the face, so as to appear 
soft and blended. Do the same from the back of the 
cheek, near the ears, in a downward direction. To 
express a crushed, hopeless condition, add a shade to 
the temples and under the eyelids, of dark brown or 
black. 

A Juvenile Comic Face. — To appear long faced, 
you must arrange the hair so as to show the forehead 
as if high and narrow. Touch the cheek-bones and 
tip of nose with light red, and tone down. Put a long 
half-inch breadth shade, or streak of pale red, from 
near the inside corner of the eye down the sides of the 
nose, and add a few lines; then continue close to 
the corners of the mouth, past the chin down to the 
neck. Then with the fingers blend all together. 

An old, Thin Face. — First, a ground color of six, 
eight, or up to thirteen, according to wig. Then put a 
shade or line for wrinkles, as high as possible at bridge 
of nose, and run past the corner of the mouth, tracing 
it down the natural wrinkle to the middle of the face, 
under the chin. Use dark brown. Shade the back 



frobisher's make-up book. 29 

part of the face and upper part of the face with 
same color. The same with the temples and below 
the eyes, the whole of the lower lid. Shade the cheeks 
also, half an inch breadth. Touch the cheek-bones 
with dark red, and tone down as before. 

Comic Characters. — The comic face consists either 
of natural facial expression, or of the disproportion 
or singularity of certain parts of the visage, or coun- 
tenance. Learn to make them up from nature. 

The Nose will look comical when very plump and 
conspicuous, when turned up so as to show the nos- 
trils, or when long and pointed so as to hang over the 
upper lip. 

The Mouth will look comical when very large, and 
the lips very broad ; or, when very small, or crooked, or 
thick and puffy. 

The Chin will look comical when very long and 
pointed, or very broad. 

The Forehead will look comical if conspicuously 
low, or very narrow and high. The head can be 
treated best by the shape of wigs. 

The Eyebrow can be made to look comical in a 
variety of ways, by first soaping over as described, 
and painting to one's fancy. 

The Teeth can be made to look quite comical by 
painting some of them out, as if missing. A liquid 
preparation called Email Noir, comes expressly for 
the purpose, and is harmless in character. 



30 frobisher's make-up book. 

To Make-up a Plump Nose. — Take grease paint, 
dark red, blend it into the color on the face, and shade 
with lighter red on the wing of the nose, also on the 
tip. Or the nose can be enlarged with the compo- 
sition already mentioned, and then painted accord- 
ingly. When the nose is made of composition, use 
the color of the face on the wings of nose, and paint 
the rim of the nose entirely around with black. Then 
mechanically contrive to push the nostrils up if pos- 
sible with a bent hair-pin. This can be very cleverly 
done by those who understand how. It repays a trial. 
Cover the points of the hair pin with little balls of 
sealing-wax; bend them into hooks and insert them 
into the nostrils; bend the middle of hair-pin over the 
bridge of the nose, previously putting a thread through 
the loop of the pin, and fasten the whole to a fore- 
lock of the wig, then cover the hair-pin and thread 
with the colors of the forehead and nose. 

A Long Nose. — A white dot on the tip of the nose 
makes it appear very long and pointed. An extremely 
long nose must be made of composition. 

Large Lips are made with an approriate red, and 
the corners of the mouth are enlarged with a line of 
brown. A few lines from the corner of the mouth 
add still further to its size. Make Wo little lines as 
a frame work; raise the middle of the lip with light 
red and frame this, (half circle,) with light brown. 
Redden the lips, then broaden them by a few lines 
and frame with brown; then lighten up the upper part 
of the lips with flesh color. 

Full Cheeks, Plump. — To paint full cheeks take 
lightest flesh color, number one, and make a disk like 



erobisher's make-up book. 31 

the bull's-eye of a target, an inch in diameter in the 
centre of the cheek. Then take dark red and make a 
broad band from the corner of the nose, down to the 
corner of the mouth, keeping well down on the cheek 
to chin bone, and along the jaw, and around well, back 
to the ear, then Tiigh on top of cheek-bone up to the 
eye and corner, then down the side of the nose till it 
meets the other end of band. Then put a lighter red 
in the same manner, inside of that band. Now blend 
the centre spot to the inner band and blend the inner 
band into the outer. Tone all down so as not to 
leave any edges and lines, and still preserve the 
original colors in their respective parts of the cheek. 
Tone also the outer edge of the band into the oppo- 
site sides of the chin until they meet, and also, other 
sections of the face, as in other make-ups. The chin 
must be treated in the same manner, for it must be 
made full also. The red on the chin, however, should 
not be as dark as that on the face. Light flesh, first 
color, as before, then bright red under it, then under 
that repeat the first color. This brings the chin out. 

A Broad Chin — Take color number seven and put 
on, and partly under the chin, and then encircle it 
with a broad shade of a lighter color. 

A Crooked Mouth is framed with two lines of brown, 
by having one drawn, small line, from the corner of 
the mouth downward, and the other drawn from the 
other corner upward. 

The Humorist.- — Take healthy flesh color, number 
five or six (rosy.) Make forehead smooth, high, broad. 
Eyebrows drawn in curved lines. The wrinkles that 
run down from the nose to the corner of the mouth, 



32 frobisher's make-up book. 

should be of a cheerful expression. Practice will find 
this line. It should be in a convex line, if possible, 
without forcing, to the end of the cheek, as if laughing. 
The hair should be light and curly. 

A Tipsy Man. — The same ground color as that of 
the humorist. Forehead, nose and chin a little red- 
dish. The wrinkle to appear as if grinning. The 
corners of the mouth are to be drawn slightly upwards 
by two small lines. The hair a little deranged on the 
forehead. 

A Drunkard. — The ground tone must be either 
quite pale, or almost brownish red. Eyes pinched, 
small, and nearly shut. The wrinkle from the nose, 
through mimic action, drawn straight to the chin 
blade. The mouth drawn downwards by two brown 
lines. The hair unkempt, and hanging low down on 
the forehead. 



WIGS, BEARDS, Ac. 

"Wigs for Old Age. — If no forehead piece, as partly 
bald in front, put on as in making-up for youth or 
manhood. If a forehead piece, paint the inside of 
the forehead of the wig, and also your own entire 
forehead; this will not only make the wig adhesive, 
but make it fit more snugly to your natural forehead. 
Besides that, in case of displacement of the wig, by 
accident, or by its moving upwards on your forehead, 
it will prevent the skin of the forehead, beneath it, 
showing a band of a different color. If the whole 
forehead were not painted and the wig should move up, 
a stripe of the unpainted section would be seen and 
thus destroy the illusive effects intended. After this 



frobisher's make-up book. 83 

painting, place the forehead of the wig against your 
own forehead, take the elastic in both hands and pull 
the wig smoothly over your head, pushing your natural 
hair under the wig with back of your comb, except 
at the temples; this portion should be matched with 
paint. When the wig is finally adjusted, and closely 
in its place, match its forehead with yours as neatly 
as possible. Then paint the face as before mentioned, 
making a line on the forehead close to line of the wig, 
and powder all, including the painted hair at the 
temples. 

The Beard gives the face a certain form, if not as 
much character, as a correct wig, and great caution 
must be observed as to its kind, and the manner of 
its being put on. Perhaps the best kind is one ready 
made, on gauze. The next in order might be prepared 
for the occasion, each time, from sheep's wool or 
crepe d hair. 

The Color of the Beard. — The color of the beard 
and mustache are always made or prepared of lighter 
colors than that of the wig or hair of the head, never 
uniform, especially with full beard; observe persons 
in life. Note the shading of a full beard particularly ; 
you will see the lighter colors around the mouth, 

riff 

The Size and Shape of the Beard must be in pro- 
portion to the face. A person with a full face has 
more space than one with a thin face. The former 
will be obliged to cover more to make his face look 
narrow and smaller, while the thin faced person will 
have to omit more to keep the face looking full. For 
a slim face, put on whiskers back near the ears to make 
the face look larger than in real life. Keep the hair 



34 frobisher's make-up book. 

well back while arranging it lower towards the chin. 
On a fat face put the whiskers forward, and keep 
them forward while going down towards the chin. 
This will make the face seem slimmer. 

Making the Beard. — This is not a difficult matter, 
but requires patience and ingenuity. 

"When using creped hair, pull off, or cut a section 
from the string, not exceeding generally, two or three 
inches in length for a side whisker; and for the chin 
and mustache, still less, according to size required. 
Hold one end in one hand, and with the other pull 
the hair to full length to free it from its braided 
shape until entirely separated and free, like the 
natural beard, and make the shape required. Paste 
the face with spirit gum where the hair is to be placed, 
just the shape needed. Apply the hair in neatly 
fitting sections, not the whole at once. First, the 
side whiskers, down to chin bone, then the chin piece, 
then the mustache, until the full beard is made. Hold 
each section a moment to the face with napkin, until 
firmly set. Have no grease paint where they are 
used, or they will be likely to fall off by not adhering 
well. After all the beard is on, neatly trim with 
scissors. For flat beard, use flat creped hair. For 
full beard and long, fasten long ends of creped hair 
to hang like beard; lighter color for chin. 

A nice beard, well formed, has three special points: 
One as from tip of lips, the others from the two cor- 
ners of the mouth. For gray beard, make a little 
lighter gray around the mouth. Mustache still lighter 
than beard. 

In using wool, take the comb and carefully draw 
through it, until enough has been collected in it for 
the purpose. Then cut off even with shears above the 



frobisher's make-up book. 35 

comb, to make an even edge along the line of the pen- 
dant wool, in the teeth of the comb. Draw it gently 
from the comb. Spread it apart and apply it like the 
hair, with ends downward like the natural beard. 
Use spirit gum, which can be procured of the theat- 
rical wig makers, or dissolve gum mastic in alcohol, 
or use strong solution of gum arabic, the latter is not 
good if you perspire readily. 

To remove the beard, gum mastic or spirit gum 
being used, take cocoa-butter or vaseline, or alcohol, 
and apply to edges and gradually pull it off. 

The Eyebrows can be either painted with color, 
to match the hair, or made from creped hair, or wool, 
and gummed on. A painted eyebrow gives the face 
a happier, more jolly appearance. Creped hair gives 
to the brows a bushy character, but takes away jollity. 
For sinister characters have the eyebrows hang down, 
and over them to give shadow, make them look heavy 
and sunken. The eyebrow commencing at nose, and 
painted high over the brow, or made short, the rest 
plastered out with soap, gives a stupid appearance. 
A very black, narrow, painted, arched brow, gives the 
appearance of treachery, duplicity. Bushy brows, 
creped hair, commencing deep, broad in centre, curved 
up at end, shows the villainous, low, brooding charac- 
ter, Prefer painting generally to gumming. 



To Remove Grease Paints from the Face. 

To remove the grease paints from the face it is best 
to take either cocoa-butter or vaseline. The cleanliest 
way is to have small patches of white muslin, a few 
inches square, prepared with either cocoa-butter or 
vaseline, and warming one over the gas, wipe first all 



36 erobisher's make-up book. 

the shadings and lines off the face and eyebrows, 
then take another patch, warm it slightly, and wipe 
the mouth, face, ears, nostrils, and even neck now. 
When all is clean, then wipe thoroughly every par^ 
with soft napkin, not harshly, however. 

It is best not to wash at the theatre. The warm, 
heated skin, exposed, shortly after, to the outer cold 
air is likely to suffer in consequence. A tender skin 
especially, is apt to change its complexion. It is even 
better not to wash the face after reaching home. The 
cocoa-butter softens the skin, improves it, and it is 
best to let it remain on the face overnight. 

N.B. — All the preceding make-ups apply to ladies 
as well as gentlemen, except in the use of exoras, the 
softer grease paints. The wrinkles, linings and 
shadings are all the same. 




/ fbobisher's make-up book. 37 

AN EPITOME OF MAKE-UPS. 

YOUTH. 

1. — Costume or dress not around neck and shoulders. 

2. — Apron or cloth around neck. 

3. — Put on and adjust the wig if one is used, 

4. — Rub the entire face and inner part of ears with cocoa- 
lDutter. 

5. — Gently wipe face with napkin. 

6. — Grease paint entire face with warm hands. 

7. — Rouge top of cheek-bone, and hollow of ears. 

8. — Draw line under eyelid and blend. 

9. — Powder face with puff and dust off. 
10. — Wipe off powder from brows and eyelashes with wet 
corner of napkin, and paint them. 
11. — Rouge the lips and nostrils. 

12. — Sponge and rub the neck, hands and arms, with the 
liquid preparation if used. 

MANHOOD. 

1, 2, 3, 4, 5.— Similar directions as to youth. 

6. — Grease paint as before, but advanced colors. 

7.— Rouge the middle of cheek-bone and ears. 

8. — Draw line under eyelids, and perhaps, very lightly, 
two or three at outer corner of the eye. 

9. — Draw shadows from corner of eye at nose, and from 
corner of nose towards chin; perhaps two small upright lines, 
as frowns, at top of nose. 

10.— Powder face, and 11 and 12 as in youth. 



1, 2. — Similar to youth and manhood. 

3. — Paint inside forehead piece, and own forehead, and 
pull on the wig as directed. 

4. — Match both foreheads with grease paint. 
5, 6. — As in manhood, still more advanced colors. 
7. — Rouge below cheek-bone. (There are different rouges. ) 
8. — Line as before under the eyelid, make deeper, sharper 
crow's feet at the outer corner of the eye. 

9. — Make deeper, longer shadows from the inner corners 
of the eye, and from the lower corners of the nostrils; add 
similar shadows to the corners of the mouth. 

10. — "Bag ' the lower lids of the eye, as described. 
11. — Redden the upper lids, if required. 
12. — Knit the brows and shadow the creases. 



38 



FROBISHERS MAKE-UP BOOK. 



YOUTH TO MANHOOD. 



13. — Hollow, a little, the bridge of tlie nose and tip of chin, 
and temples. 

14. — Elevate the brows, and shade irregularly the wrinkks. 

15. — Raise, or depress, as required, the skin of the entire 
face, and paint lines as needed, and, also, line the lower jaw, 
and the creases of the neck. All this done on the dry surface, 
after liquid. 

15. — Powder over all your work and dust off. 

GREASE PAINTS AND MATERIALS. 

1. -Pale flesh color. 

2.— Light flesh. 

3. — Natural. 

4. — Rosy. 

5. — Darker rose. 

6. — Sunburnt. 

7. — Dark sunburnt. 

8.— Sallow, 

9. — Healthy manhood. 

10.— Sallow. 
11.— Ruddy. 
12.— Olive. 
13.— Olive lighter. 
14. — Gypsy. 
15.— Moor. 
16. — Chinese. 
17.— N A. Indian. 
18. — East Indian. 

Each 50 and 25 cents. 

GREASE PAINT PENCILS. 

White, for graying eyebrows and hair. 
Black, for eyebrows, mustache, etc. 
Gray or Slate, for hollow cheeks, temples, etc. 
Brown, for wrinkles. 

Light flesh, shade added to brown wrinkles. 
Red or Maroon for rouge, old men. 
Carmine, for brows, etc., when red wig is worn. 
Black and Bed, 20 cents; other colors, 10 cents. 



OLD AGE. 



CREAM EXORAS— (Ladies.) 

1. — White. 2. — Rose. 3. — Brunette. (Greasepaints, soft.) 
Each 50 cents. 



frobisher's make-up book. 39 

EOUGE DE PAEIS AND OTHEES. 

Rouge de Paris (youth). 

Rouge de Theatre, No. 6, light; No. 18 dark (old age). 
Rouge Vegetate, No. 8, light; 12, medium; 18, deepest shade; 
(youth, manhood, old age). For cheeks, lips, nostrils and ears, 
50 and 75 cents per box. 

MASOAEO. 
Black, Brown. — For eyebrows, mustache, hair. 
Each 25 cents. 

CRAYON PENCILS. 

Carmine. — For light wrinkles, etc. 

Blue. — For veins in arms, and on back of hands; for blonde 
eyelids. 

Brown. — For wrinkles, &c, and under eyelids sometimes 
instead of grease paints, in parlor. 

Black. — Under eyelids, with black wig and mustache. 
20 and 35 cents per color. $1.00 box of three colors. 

EXOEA POWDEBS. (Both Sexes.) 
1, white; 2, flesh; 3, brunette; 4, gypsy. Used as the fin- 
ishing over the grease paints. 

Each 25 cents. 

LIQUID COLOES. 

1, white; 2, flesh; 3, brunette; 4, gypsy; 5, Indian. For 
neck, hands and arms. Each 50 cents. 
Pomade, for mustache. 25 cents. 
Spirit Gum. — 1, very strong, 25 cents. 2, — Medium, 20 cents. 

WIGS AND BEAEDS. 

Court wig, Dress, Brown George, Judge, Ladies' Court, 
Ladies' Blonde, Ladies' red or auburn, Character, Crop, Fright, 
Negro. From $5 to $20. 

BEAIDED, OE CEEPED HAIE AND WOOL. 
For making beards, whiskers, mustaches, and eyebrows. 
30 cents per yard. 



40 frobisher's make-up book. 

SELECTED HINTS ON ACTING. 

Some have that mysterious, divine faculty, which 
exists independently of circumstances, of culture, even 
of intellect itself, which we vaguely call genius. But 
genius itself requires culture to produce art. The 
most expressive voice, the most perfect instinct, the 
most inspired soul, must still be taught and trained. 

Artistic genius is ever precocious, of magnificent 
capabilities, of intense impulses, of grand natural 
gifts, but it requires culture even of the beaten track, 
the technicalities, the restraints, the traditions, and 
the useful, if not altogether necessary convention- 
alities of art. Sometimes, the utter want of worldly 
tact, and knowledge of self, unless good fortune 
befall it, dooms it to obscurity by reason of groveling 
in the rudiments of an art with which it is imperfectly 
acquainted, coupled with the sensitive shyness which 
is so often a quality of the finer order of minds, which 
prevents ease of manner, and, consequently, of ad- 
vancement. 

Genius sometimes, too, works provokingly slow. 
But what results ! Like giants of old. 

In acting, the divine secret is the way to the inmost 
heart of every man at once. The headlong impetu- 
osity of genius that sweeps to its triumphs, carrying 
an audience wildly before it. 

An actor should consider his own emotions as 
materials to utilize, for should he make absolutely his 
own the passions of his role, he will needlessly fatigue 
and injure himself. The natural effect of a passion 
is to raise ourselves to the government of ourself. 
A certain excitation does not injure; but sinking one's 
self to the great depths of one's spirit is not always 
free from danger, if recklessly continued. To fire 
one's inspiration too much, is wrong, and eventually 



frobisher's make-up book. 41 

weakens one's powers, even rendering them useless, 
brain as well as body. It is necessary to improve 
genius by study and meditation, and constant practice. 
The opposite opinion is only a prejudice of the mass. 

How to Speak in a Theatre. — If one speaks on the 
stage as in a parlor, in a modest tone, he would not 
be heard. The stage itself is like a room, in most re- 
spects, with this exception, that one side opens to a 
large space filled with spectators, To produce an 
effect equal in appearance of your room, face to face 
with another, it is necessary to raise the voice, and 
accentuate more clearly. To introduce in the lan- 
guage the purpose, without showing the labor and 
the pains employed, and without marring the character 
represented, and without seeming to have any care 
regarding the manner. 

There is a certain agreement necessary, and that is 
to take away all appearance in the effort. They are 
to be governed entirely by optical laws. Having 
the medium, the stage, isolated from the audience, 
illumined, and with all the agreements or conditions, 
the slope or incline towards audience, the scenes, the 
decorations, the actors themselves — for every actor is 
an agreement — it becomes a necessity to give an 
illusion of life on the assembled spectators, modified 
in the sense of this medium of the conditions of life. 
It is not possible to enter into the details of the 
necessary features; this is a S}3ecial study, full of 
technicals; but one point is essentially to be noted, 
that is, as the illusion of life ought to be produced on 
the audience, it is well to consider their intellectual 
status and their degree of culture. All audiences are 
not alike in these respects, and allowable variations 
can be made. The more refined are more difficult to 



42 frobisher's make-up book. 

please, while the less refined need not have the same 
finished expression, but would be better pleased with 
the lines grosser drawn. The law of enlargement, 
of relief, in any case, is eternal, for it is a law of art; 
but the conditions change with time and the people. 
The rude manners of our ancestors made it necessary 
to greatly roll the eye as well as the " r." The 
softened habits of to- day have very sensibly decreased 
the necessity of such grossness. It is not necessary 
to destroy the truth of the theatre for the power of 
agreement, neither is it necessary for the force of 
truth to destroy the illusion of the theatre — the 
pleasure one goes there to find. This pleasure is 
made certainly of illusion, and also truth, but accom- 
panied by a sentiment of personal security, and the 
conviction, habitual and familiar, that one partakes 
only of an illusion. This sentiment it is not necessary 
to destroy ; and if reality or artifice takes its place 
too absolutely, all pleasure to audience is destroyed. 
In order to have an illusion of truth, it must be only 
an illusion. 

Rehearsals. — No number of rehearsals can be toa 
many. Under intelligent guidance do precisely the 
same as if theatre had an audience. Each rehear- 
sal as near as possible to an evening's performance 
without the costume. The stage must be set, the 
scenes correct, the properties in place, all complete, 
even trifles. A rehearsal should be very exacting. 
Again and again go over bits and sections until 
properly delivered. Give even the best of acting. 
Effects must be sought, because it is intentionally art, 
and everything must be perfected to that end. It 
must be a determination to act the very best, to give 
way to feelings in the most decided manner. 



frobisher's make-up book. 43 

Few people have any idea of the vast amount of 
tireless drudgery, and the toil spent in the elaboration 
of the most minute details of acting and rehearsing- 
f great artists, necessitated beforehand. 

To witness a fine scene is pleasant enough, but few 
realize that the faintings, the embraces, and postures, 
here and there, have had to be tried in every possible 
variety, all over and over again. Sometimes a person 
will spend the entire day on the stage, speaking, 
laughing, crying, gesticulating, fainting, falling, dying, 
throwing themselves on chairs and lounges and re- 
citing sections of their parts. 

Sometimes a dying embrace will be rehearsed many, 
many times before knowing how, to a nicety, to pro- 
duce the most telling effect. Rehearsals of such 
matters are often very painful and tiresome ; sometimes 
amusing. Sometimes a phrase will be uttered again 
and again, until satisfied as to which is the best manner^ 
until finally found, after the most wearisome, fatiguing,, 
exhausting labor, to be the artistic expression of the 
most thrilling bit, perhaps of a scene. Then acting 
becomes actual life, except raised by an artistic stand- 
ard. The manner is the link between soul and body. 

Society and Acting. — Movements of the body and 
facial changes are visible effects of feeling, which, when 
the feeling is strong are uncontrollable. When the feel- 
ings are less strong they may be repressed, and the 
habit of repressing them is insisted upon as an element 
of good manners. This in part explains why the best 
actors generally come from the humbler classes. So- 
ciety restraining the language of expression, of course 
prevents its growth. But acting requiring a more can- 
did display, except in society plays, there will go along 



44 frobisher's make-up book. 

-with the habit, which can be practised and premedi- 
tated, development of the means of display; so that 
besides the stronger emotions, the more delicate 
shades and smaller degrees of emotion will visibly 
express themselves, the emotional language w T ill be- 
come more copious, more varied, more definite, and 
obviously, sympathy will be proportionately facilitated. 
The vocal signs of sentient states will simultaneously 
evolve further. Loudness of tone, pitch, quality, and 
change of tone, are marks of feeling, and, combined 
in different ways and proportions, serve to express 
different extents and kinds of feelings. Not in excited 
speech only, but in ordinary speech, we show by 
ascending and descending intervals, by deviations of 
tone, by place and strength of emphasis, the kind of 
sentiency which accompanies the thought expressed. 

A simultaneous increase in the power of interpreting 
both visible and audible signs of feeling must be taken 
into account. If we suppose both these faculties 
exalted, both a more delicate perception of the signs, 
and a strengthened, constructive imagination, we shall 
get some idea of the deeper and wider sympathy that 
will hereafter arise. More vivid representations of the 
feelings of others, implying ideal excitements of feel- 
ings, approaching to real excitements, must imply a 
greater likeness between the feelings of the sympa- 
thizer and the sympathized with, coming nearer to 
identity. 

Practice. — Facility attends long practice, and loss of 
aptitude begins when practice ceases. 




THE 



i 



allege of fraianj anfi Jpng 

OF 

NEW YORK, 

No. 23 EAST 14th STREET, 

(Bet. Bkoadway and Fifth Avenue.) 
J. E. Frobisher, - Director, 



This Institution, modeled after the systems of the European 
Conservatories, and the only one of the kind in this country, 
is designed for the purpose of more liberally and thoroughly 
advancing the arts of 

ORATORY, READING AND ACTING, 

and it will be the endeavor of those most interested in its. 
welfare to make it preeminently worthy the support of the 
intelligent public, not only as a Metropolitan, but a National 
Conservatory of Speech as an art. 

It is especially intended for teachers, those desirous of be- 
coming public readers, young clergymen, lawyers and students 
of the dramatic art, wishing to acquire a scientific use of the 
voice and an aesthetic development of expression. 

For this purpose the Auditorium has been provided with a 
completely arranged Stage for General Instruction, Lec- 
tures; and also Readings and Acting by the pupils. 

Receptions, Readings and Dramatic Performances will be 
given at frequent intervals during the season, to which all 
pupils of the institution will be gratuitously admitted. 



COURSE OF INSTRUCTION. 

1. VOCAL culture. 

BBEATHING, for Lnng Capacity and Chest Expansion. 
ARTICULATION, for Distinctness of Utterance. 
EOECE, STRESSES, for Strength of Voice— Endurance. 
PITCH, for Flexibility of Voice— Modulation and Melody. 
TIME, to Regulate the Slowness and Rapidity of Speech. 
EMPHASIS, for the Coloring and Expression of Sentiment. 

2. ACTION AND ATTITUDE. 

GESTURE, Movements of the Arms, Hands and Fingers. 
POSITIONS, Lower Limbs and Feet. 
ATTITUDE, Dramatic and Statuesque, Posing. 

3. THE PASSIONS. 
ANALYSIS— Illustrative Examples. 

4. READING, RECITATION, ORATORY. 

Analysis — Criticism — Prose — Poetry — The Bible— Shakespeare 
— Selections. 

5. ACTING. 

Character Studies — Rehearsals— Plays, etc. — Fencing — Light 
and iEsthetic Gymnastics — Military Drill, etc. 



TERMS. 

(Quarterly, in Advance.) 

GENERAL INSTRUCTION. 

Yearly Course — Class Instructions, - - $125*00 

This will include, in addition to the regular daily and numerous special 
lessons, Lectures, Receptions, Entertainments, etc. 



PRIVATE INSTRUCTION. 

(Part Payment in Advance.) 

Per Hour, $2.00, $3.00, $4.00 

{According to instructors, length of term and requirements of the Pupil.) 

Ten to twenty-five lessons constitute a Private Course, and 
may be received from one to three times per week. 

A reduction will be made where two or more persons form 
a private class. Special Classes formed for Teachers or Clergy- 
men when desired. 



OTHER SPECIAL CLASSES, Partial Course. 

(Full Payment in Advance.) 

Besides the regular and private instruction, special limited classes 
will be taught, day or evening. 

READING CLASS. 

Yocal Drill — Readings and Recitations — Number limited to 
fifteen in Class. Lessons of two hours each. $15.00 per 
quarter. 

DRAMATIC CLASS. 

Stage Business— Rehearsals— Public Performances. Lessons 
(weekly), two hours each. $15.00 per, quarter. 

SHAKESPEARE CLASS. 

(Advanced Pupils and others.) 

In this class the pupils will be assigned separate characters 
in the plays of Shakespeare to read or recite, subject to analysis 
and criticism. Lessons of two hours each. $15. 00 per quarter. 

Persons can join at any time, as classes are constantly forming . 



PRIVATE THEATRICALS, Etc. 



AMATEUR CLASS. 

A special feature will be made in arranging for ladies and 
gentlemen who may desire to have a strictly private class among 
their own acquaintances at the same rates as noted for the 
Dramatic Class. 

AMATEUR DRAMATIC SOCIETIES. 

Will be prepared for Public Representation, and management 
of stage taken charge of on the evening of performance, at 
reasonable rates. 



TEXT AKD REFERENCE BOOKS.* 

The Regular Text Books employed are: Fbobisheb's "Voice 
and Action," 268 pages, a complete system of Vocal Culture; 
and Fkobisheb's "Acting and Obatoby, " 415 pages, a very com- 
prehensive treatise, and compendium of notes. Both of these 
works are furnished at cost to all pupils of the institution. 

Among Books of Reference and general study, may be men- 
tioned: Rush's "Philosophy of the Voice," Bell's "Visible 
Speech," Austin's " Chibonomia, " Steel's " Pbosodia Ration- 
ales," etc., etc. 



The summer term is more especially intended for teachers, 
students and those unable to attend at other seasons of the 
year. 

N. B. — To further accommodate those not able to commence 
at the beginning of the terms, a special feature has been made 
of the elementary drill, so that persons can join at any time, and 
dale their term accordingly, and still progress with the regular 
work of the classes. 



* Other works than those mentioned as the regular Text Books will be pro- 
cured for such pupils as may desire them at the lowest cash, prices. 



Extracts from Notices if the Press. 

Long known as a Teacher of Elocution. His " Voice and Action " has been a 
standard work in its especial sphere. 

Within the past few years the number of misguided young persons who have 
come before the public to claim recognition as readers, with no knowledge of 
the principles of artistic elocution whatever, may be counted by thousands. 

A general diffusion of the ideas promulgated by Prof. Frobisher would render 
most of such inflictions upon the public impossible, by fixing a standard of 
artistic excellence. 

There exists the need for a radical reform in the elocution of many clergymen, 
lawyers and actors, to cultivate the art of speaking. His theories indicate that 
he understands the voice much better than most exponents of vocal culture.— 
New York Herald. 

The Teacher of Teachers in Elocution.— Programme. 

Mr. F: has furnished the stage with good actors and readers. — Brooklyn Times. 

Prof. Frobisher, under the patronage of some of the most spirited public 
gentlemen of the metropolis, has established a College of Oratory and Acting 
in this city. His success as a Professor of Elocution is an earnest of the bril- 
liant future of the College. Hundreds who are now practising at the bar, or 
acting before the footlights, bear testimony to the effectiveness of his method. 
— New York Herald. 



PRONOUNCED THE BEST BOOK OF ITS KIND. 

NEW AND IMPROVED EDITION. 

Voice and Action, 

New Features! New Selections! Impmed Diagrams ! 

+. _ 

BY J. E. FROBISHER, 

Director of the College of Oratory and Acting, of New York ; Author of " Acting 
and Oratory," "Serial Readings," "Popular Recitals." &c. 

264 PAGES, - - IBY MAIL, $1.10. 



The long experience of its author as a Public Reader and Elo- 
cutionist well qualifies him to judge of the needs of those wishing 
to learn the art of Elocution. 

A Practical work by one who has practically devoted himself 
to the study and teaching of Reading and Speaking. 



The best manual of the kind in existence.— New York Atlas. 
The author is well known, and there is, we believe, but one voice as to the 
excellence of his system and his training. — Ch. Intelligencer. 

FROBISHER'S POPULAR RECITALS, - 25 Cents. 



For Sale at all Book Stores in the U.S., and 
at the College. 



Charles Meyer, 

?HEA¥i$€AL 

— AND — 

qirbj&l to inn 

123 Fourth Avenue, 

Bet. 12th and 13th Streets, NEW YOR K C I T 



MR. MEYER was the first to introduce into this country ' 
Improved Features of Artistic Stage Make-up , which are now used 
all our leading professionals, such as 

GREASE PAINTS, ROUGES, 

CREAM-EXORAS, FAGE POWDERS, 
GRAYONS, MASGAROS, 

LIQUID COLORS, SPIRIT GUM, 

POMADES, GOSMETIQUES, &c, h 

Keeps constantly on hand, or Made to Order, 

Wigs, Beards, Toupees, Creped Hair, and Wool 
all Colors, for Making Mustaches", &c* 

AND ALL NECESSARY ARTICLES for STA&E '' MAKE-DP. 

N.B.— EVERY ARTICLE WARRANTED FIRST-CLASS. 



^Send for Price List to above Address **^. 

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